MACRO - Museum of Contemporary Art in Rome

MACRO - Museum of Contemporary Art in Rome

Arquiteto
Studio Odile Decq
Localização
Via Reggio Emilia, Rome, Italy | View Map
Ano do Projeto
2007
Categoria
Museus
Roland Halbe

MACRO - Museum of Contemporary Art in Rome

Studio Odile Decq como Arquitetos

The high-gloss roof of Rome’s Museum of Contemporary Art was conceived by Odile Decq as apromenade linking the late 19th-century surroundings to the enigma of presentday art. Her designcrowns the existing building, the old Peroni beer brewery, with a roof terrace that gives visitors thechance to see the city from a new viewpoint.


The museum’s dominant colour is black – Decq’s favourite. In the restaurant, dark surfaces make ashadowy setting that is illuminated by swathes of light projecting down from arrow-like hanginglamps (“Javelot”) and table lamps (“Ma Lampe”). Both models, produced by Luceplan, weredesigned by Decq especially for the MACRO.


I think it is important to look at these works firstly as outstanding forms of cultural resistance to abackground of indifference regarding quality and an experimental approach to reality. They shouldalso be treated as inexorable signals that in Italy, too, “it can be done”, i.e. that urban places can begenerated as bearers of a different and problematic way of imagining public space today. TheMACRO is one of these concrete examples to be surveyed and understood over the coming years. Isay this because it would be gratifying to think that, every now and again, critics and magazines canafford to return to places that were celebrated at their birth, perhaps visiting them with the architectwho designed them. This would allow us to check out how real life and people have inhabited,transformed and maybe even disputed the work of architecture which changed the fate of thatparticular part of a city.


I like to look at the MACRO as a promise fulfilled, a place that just wants everyday life to let it liveand be discussed. The MACRO has always presented itself as a critical and successfullyproblematical work. It is an expression of the restless talents of the lady “in black”, M.me OdileDecq, but also the manifesto-project for a way of openly imagining a contemporary art space thatwould also be a vital urban fragment in the heart of Rome. I don’t think it is easy for anybody towork in the soft and stratified belly of such an ancient city. It is always risky to play with memories,dazzling images, accumulated matter, or visual, literary and sensual references, even for an architectof such talent and conceptual richness as Decq. There is always the danger of wanting to say toomuch and succumbing to an autobiographical narcissism that can undermine even the best of designs.


But the new MACRO not only gives the impression of being a work that has weathered the longyears of its realisation. Above all, this new contemporary urban cog can offer a rich and multifacetedsystem of spatial experiences that reach beyond the mere system of displaying modern andcontemporary art. The determination to maintain the whole museum system as an unstable organism,stiffened by a restless grid of viewpoints, walkways, routes and railed balconies, makes the MACROan introverted urban place that is primarily an experience of discovery for the visitor.


The long, suspended walkway leading to the roof also works as an observation deck over the largeexposition hall. This new building has given the MACRO an additional 10,000 square metres,divided into space for art (exhibitions, events and video projections) and space for recreation andstudy (restaurant, cafe, book shop, reading room and lecture halls).


The entrance immediately states this wealth of routes leading through the rooms and public areas tothe roofgarden- restaurant, where the city is suddenly revealed in all its splendour. The museumfirstly becomes a place of possible experience, a generous labyrinth multiplying the angles of visionand offering images as alternatives to our traditional viewpoints. The former Peroni brewery hasfinally opened its fences and let the city into the new museum, with its inward angles and viewsopening onto the facade, its new roof indicating its changed purpose, and its few and forcefulcontemporary materials in a dialogue with a carefully restored past. Rather than a mummifiedindustrial icon, the result is a very lively work of contemporary architecture, open and ready to beinhabited.


- Luca Molinari

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